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alone there is room for the display of aught like taste or invention in domestic architecture generally. On this last account, it might be thought that instead of neglecting—we might say abandoning, that particular department of architectural design, the profession would apply themselves to it more especially, as affording the majority of them almost the only opportunities they can hope for, of displaying any ability as artists. So very far, however, is it from being the case that, on the contrary, all relating to the interior arrangement and decoration of private houses, seems to be quite overlooked in an archi tect’s professional studies, and treated as if scarcely belonging to them. Very rarely indeed is any subject whatever of the kind to be met with at'any of the exhibitions at the Academy; while even those who publish designs expressly purporting to be studies of domestic architecture, and to furnish ideas for those who intend to build, are equally shy of submitting any examples of interior fitting up and em bellishment, confining their attention, as far as interior is concerned, merely to adjustment of the plan; and again in regard to this last, satisfying themselves with doing no more than consulting ordinary convenience, and avoiding palpable defects; but without aiming at any thing further—at any kind of effect, either as regards the gene ral distribution or the individual rooms. The consequence is that when the architect has completed his task, and taken his leave, the owner finds all in the rooms in his house—with the exception perhaps of vestibule and corridors—quite in an unfinished state—w r ith bare, blank walls. Of course then the decorator—who perhaps may be no better than a mere paperhanger—must be called in, to give the finish ing touches to the rooms, before the upholsterer comes in his turn, with his readymade taste:—and it is well if between decorator and upholsterer, the architecture—that is, supposing there to be any at all —is not fairly smothered. Architects—at least ninety-nine out of a hundred, will say that such finical matters as those of mere fitting up and ornament, do not at all belong to them, nor have formed any part of their studies. The consequence is that the whole department of taste in regard to such matters, is consigned over to a class of persons who have generally but a very poor stock of that article, and with whom what is most expensive of its kind, and the newest in its fashion, is always sure to be the tip-top of elegance. ON THE STATE OF THE ARTS IN ITALY. Brief Observations on the Slate of the Arts in Italy, with a short accoun t of Cameo-cutting, Mosaic work, Pietra Dura, and also of some of the Domestic Arts and Mechanical Contrivances of the Italians, By Charles H. Wilson, Esq., Architect, Edinburgh, A.R.S.A., and M.S.A. Read before the Society of Arts in Edinburgh, Nov. 1840, and printed in the Edinburgh New Philosophical Journal, for January 1841. I feel that I ought to apologise to the Society for bringing before it a paper of this nature, which contains no description of any new art or discovery, but which may rather be described as being little more than a catalogue of arts and practices, most of which are of great anti quity. I hope that such a paper may be deemed admissible. As far as my individual opinion goes, I would say that it would be very de sirable if several papers were read every session containing as distinct accounts as could be obtained of the state of the arts and sciences, with reviews of the progress made in them in different Continental countries every year. That such papers would be useful in various points of view appears to me sufficiently obvious; those who have neither leisure nor opportunity to inquire for themselves would by this means obtain a great deal of valuable and interesting information; our efforts to excel in the arts and sciences would be stimulated; and, above all, I think that, whilst our national vanity would be advantage ously chastened, feelings of respect and esteem, founded on a know ledge and just appreciation of the merits of other nations, would be yond all other influences lead to international amity. Feelings like these have already been happily nourished by the amicable intercourse of literati of different nations: the course which I advocate would tend to the further diffusion of such sentiments amongst all classes. I cannot, without presumption, imagine for a moment that the paper which I now bring before you can deserve to be considered one of such a series. I went abroad at a very early age, and my time was entirely given up to the study of the art to which I had devoted myself, and which every thing around me tended to increase my love of. The collateral studies of the youthful artist are naturally those connected with his art, and are greatly more extensive in Italy, from many favour able circumstances, than in Scotland, and the brief allusion which I have made to them and to the time of life when I lived abroad, is meant as an apology for the meagreness of the details which I humbly bring under you notice. Any comment on the political condition of Italy would be out of place in a paper to be read here, although a distinct apprehension of it would be necessary previously to any inquiry into the state of her arts and sciences, and also to enable us justly to appreciate the great merits of Italian philosophers and literati, who, despite of adverse cir cumstances, so greatly distinguish themselves; but to so slight a sketch of the arts of Italy as that I am about to offer, any lengthened observa tions are not so necessary. Whatever may be our opinion of Austrian principles of government, and of Austrian influence in Italy, all who have visited tne Italian territories of that power, must, I think, ac knowledge that Lombardy is greatly in advance of the independent states, and in no part of Europe, Scotland excepted, are there more numerous schools for the instruction of all classes of the people. As the traveller advances southward, with nominal independence political degradation increases, and the general character of the people is low ered. We can feel no other emotions than those of regret for the prostration of Italy; but if we examine into the customs of the Italians, we shall every where find expressive indications of ancient power and refinement, and pleasing proof that, where civilization and its attendant sciences and arts has once held extensive sway, advantages are secured of which it is almost impossible, or at any rate very difficult, to deprive a people. I shall commence with a brief notice of the art of painting in Italy: this fine art has gradually declined, and there seems to be no indication at present of its recovery. It is trammelled by academic system. The Roman school is distinguished by a cold affectation of classic purity, and a want of energy and nature in all its productions; but, whilst we avoid the errors into which it has fallen, we should not allow these, and the difference of its practice from our own, to blind us to its good qualities; many Roman artists draw exceedingly well, and they evince this power in the large and fine cartoons which they are in the habit of executing before commencing a picture. But if the student in this country does not draw long enough, which I think is the case, the Italian student, in acquiring his mastery of the crayon, seems to forget that he is ever to use the brush; and the Italian artists rarely prove even tolerable colourists, whilst their prejudices as to the adoption of many necessary processes in painting, and which were unquestionably in use amongst their great predecessors, are invincible. This was illustrated in an amusing manner one day in the Florence gallery. An Italian artist was busy copying a Venetian picture, and my late friend Mr. James Irvine, happening to look at his work, remarked to him that he never could hope to imitate the brilliancy of the original with out glazing. “ I know that,” said the Italian, “ but I won’t glaze.” At Florence, painting is in much the same state as at Rome; of late some artists have endeavoured to add richness in colour to the correct ness of their drawing, but they have only succeeded in arranging on their pictures in brilliant juxtaposition rainbow colours, without at taining that harmonious effect which marks the works of their great predecessors. At Naples, painting is at a low ebb; at Genoa, lower still; at Venice, it is little better; but at Milan it reckons amongst its professors clever men in some departments of the art. Fresco painting is still pursued in Italy, but with most success by the Germans. I wish to avail myself of this occasion to do homage to the extraordinary merits of the masters of this distinguished school; in looking on their works, we cannot but regret that greater encour agement is not given to the highest department of painting in this country; in those which are encouraged, our artists excel; and we may, I think, therefore, justly conclude that ability would soon be found to execute works of the noblest description. Engraving may appropriately be considered after painting. You are all, doubtless, well acquainted with the great names which have lately marked the progress of this art in Italy; most of these distin guished artists are now dead. Several of Raphael Morghen’s pupils are much esteemed, the best of whom are established at Milan; many very fine and important works have been lately finished or are now in progress. Messrs. Ludwig Gruner and Rusweigh, both Italianized Germans, promise to revive the style of Marc Antonio with success. The Italian engravers are most successful in their works from his torical pictures; but a practice which they follow is, in my opinion, calculated to pi event their imitating with fidelity the style and feeling of the artist whose production they copy. They engrave from highly finished chalk drawings copied from pictures bv artists who devote themselves to this branch : however faithfully these may apparently copy, it is certain that their drawings will, to a certain extent, exhibit their peculiarities of mind and feeling, and, as the engraving must likewise so far be marked by the style of its author, the process is not favourable to the production of engravings of a faithful character. F 2